POLITE SOCIETY (2023)

April 27, 2023

Greetings again from the darkness. If you have ever wondered what it might look like if Quentin Tarantino consulted on a modernized Pakistani version of Jane Austen … well, writer-director Nida Manzoor shows us (with no actual assistance from QT), including stylized martial arts, class warfare, and an obsession with a stuntwoman career. It’s Ms. Manzoor’s first feature film (she created the TV series “We are Lady Parts”) and she presents an extremely creative film with a balance of silly and dark themes that proves immensely entertaining.

Relative newcomer Priya Kansara stars as Ria, a private school student highly determined to achieve her goal of becoming a working stuntwoman. She remains laser-focused on this despite her teacher and parents laughing off such nonsense and re-directing her towards becoming a doctor. Ria also adores her older sister Lena (Rita Arya), although worried about her since she recently dropped out of art school and seems to be rudderless in life.

Things change quickly for everyone once rich mama’s boy/doctor Salim (Akshay Khanna) begins courting Lena. Ria senses things aren’t right with the relationship and is also convinced that Lena should resume her dreams of being artist, rather than being pursued by the handsome, rich, too-good-to-be-true suitor. Ria and her best friends Clara (Seraphina Beh) and Alba (Ella Bruccoleri) scheme to undercut the relationship, but they are no match for Salim’s mother (a terrific Nimra Bucha), who sports the best evil Grinch grin you’ve ever seen.

Director Manzoor divides the film into five chapters: A tale of two sisters, EID Soiree, Operation Wife Hunter, Assault on Shah mansion, and The Wedding. Each chapter offers comedy and action, and a matching of Ria’s wits and instincts against the plans and beliefs of others. Ms. Kansara impresses as an upstart female Jackie Chan with superior acting chops. She executes the physical martial arts sequences beautifully, yet also shows promise in the quieter, more intimate moments when emoting and dialogue matter. She is certainly one to watch … as is filmmaker Nida Manzoor. Anyone who can entertain at this level deserves the opportunity to do so as frequently as possible.

Opening in theaters on April 28, 2023

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Posted by David Ferguson

R.M.N. (2023)

April 27, 2023

Greetings again from the darkness. Welcome to ‘Hypocriteville”. Or the town of Bigotry. Or Xenophobia City. Regardless how vile each of these labels might be, they each fit in the Transylvania community at the heart of writer-director Christian Mungiu’s latest film. Of course, as with most derogatory labels, the accused would never admit the shoe fits, and paraphrasing Shakespeare, would likely protest too much. Mungiu’s brilliant 2007 Palme d’Or winner 4 MONTHS, 3 WEEKS AND 2 DAYS was inexplicably not nominated for a Best Foreign Language Oscar, and he proves again his unique mastery of the medium.

Our introduction to Matthias (Marin Grigore) occurs as he violently head butts his rude supervisor after being disrespected. Matthisas then returns to his home community where he encounters Ana (Macrina Barladeanu), the mother of his young son. Rudi (Mark Edward Blenyesi) is 8 years old, and he has recently witnessed something in the forest that has frightened him into silence. Ana does what she can to comfort him, while Matthias pushes him to ‘man up’ and face his fears. Matthias also re-connects with his former lover, Csilla (Judith State), who is the manager of the local bakery in town.

Csilla is working diligently to hire more employees at the bakery in order to qualify for grant money. The problem is that no locals want to work for minimum wage. Instead, many locals head to Germany and other areas for higher paying jobs, and the conflict arises when Csilla hires a couple of men from Sri Lanka. It’s at this point where this mishmash of citizens begins their racist rants … this despite being a mixed community where many friends and family member have headed out to find jobs in other areas. “Not in my backyard” is a phrase used so often in communities fighting against some cause, and that’s exactly what’s happened here.

Mungiu’s excellent film peaks with a 15 minute (or more) single take scene – a town hall meeting where a couple of dozen citizens speak out showing their small-mindedness. It’s painful to watch, yet also mesmerizing. Csilla and Matthias are front and center for the scene and both are superb, especially Csilla’s facial reactions and Matthias’ cowering (this after flaunting his powerful masculinity for so much of the film). By the time this scene concludes, this viewer was mentally exhausted while also being in awe. It’s this reaction which makes that final scene so confounding and seemingly out of place. Mungiu taps into the human behavior that we so often question these days, and he does so in a way that never preaches or judges. It’s truly exceptional filmmaking … except that final scene.

**NOTE: In Romania, an MRI is RMN (the film’s title)

Opens April 28, 2023

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Posted by David Ferguson

GRINGA (2023)

April 21, 2023

Greetings again from the darkness. When a 16 year old girl has self-esteem issues, it can be painful to watch. As adults, we know it’s likely to get better, although it’s also possible things get worse before they improve. And ‘things getting worse’ is exactly what happens to Marge in this film co-directed by Marny Eng (long time stunt performer and coordinator) and EJ Foerster, and written by Patrick Hasburgh (writer and creator of TV series “Hardcastle and McCormick” and “21 Jump Street”).

Marge (Jess Gabor, “Shameless”) and her mother (Judy Greer) are both having a hard time. Mom is a California realtor who seems to go through men faster than she sells houses, and Jess is a self-described “fat and slow” bench-warmer on her soccer team, while also battling bulimia and her unpopularity with classmates. It’s at about this time when the “getting worse” part happens for Marge, and soon she’s crossing the border in search of her dad, who left home when she was two years old.

Jackson (Steve Zahn) is a former soccer star-turned alcoholic-surfer, and is no more prepared to be a father now than when Marge was born. It’s an awkward reunion since neither father nor daughter know the other, but they agree to spend a month getting familiar. It’s fun to watch these two bring out the best in each other. Dad promises to stop drinking and treat his girlfriend (Roselyn Sanchez, “Without a Trace”) better, and Marge cleans up her diet and magically improves her soccer skills while subbing for the local team her dad is coaching.

Mr. Zahn has been a familiar face and dependable performer since the early 1990’s, and was recently seen in season one of “The White Lotus.” In this role, he gets to flash some of his trademark goofiness, while also showing some depth as a man-child trying to get his act together. Zahn’s connection with Ms. Gabor is what makes the film click. While not familiar with her previous work, I was impressed with Gabor’s range her and realistic portrayal of a teenager in pain – slumped shoulders and plate of tacos, etc. Ms. Greer has a limited role here, and supporting work comes from Jorge A Jimenez, Valentina Buzzurro, and Nico Bracewell. It’s not really a comedy, although there are some slightly comical moments, and the first two acts are well done, though the poor sound mix and muddled final act don’t end things on a high note. It may seem formulaic at times, but noticing new talent is always a welcome development.

In theaters and VOD beginning April 21, 2023

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Posted by David Ferguson

SOMEWHERE IN QUEENS (2023)

April 21, 2023

Greetings again from the darkness. Big Italian families in New York offer a smorgasbord of opportunities for interesting stories and characters. Ray Romano from “Everybody Loves Raymond” takes on his first feature film as writer-director, and he and co-writer Mark Stegemann (“Scrubs”) embrace the noise and combustibility of just such a family. During the story they make us laugh and cringe.

Romano also stars as Leo Russo, husband to Angela (Laurie Metcalf, “Roseanne”) and father to “Sticks” (relative newcomer Jacob Ward). What we soon figure out is that Leo is a helicopter parent to high school basketball star Sticks, while Mom is overprotective and scared of losing her son … while being constantly annoyed with everything due to another issue she’s trying to deal with on her own. We also see Leo works in the family construction business for his dad (Tony Lo Bianco) and douchey brother (Sebastian Maniscalo), both of whom show him no respect.

Sticks is an extremely quiet and shy high schooler who has battled anxiety issues his entire life. Both parents are shocked to discover he has a girlfriend. Dani (Sadie Stanley, “The Goldbergs”) is a free-spirit who is ready to shake the dust of Queens as soon as she graduates. She and Sticks couldn’t be any more different as she is confident and outgoing in contrast to his usual state of withdrawn.

During one of the big family Sunday dinners, we get one of the best meatball jokes ever, and the many family events (weddings, babies, etc) provide numerous opportunities for gags and punchlines. Beyond the comedy, there is true drama on display, and it kicks into uncomfortable gear when helicopter dad displays extremely poor judgment … made worse that he’s doing it for the wrong reason. His actions send shockwaves through the family. Parents often use “their kid’s best interest” as a reason for making decisions, but here it’s obvious to all (except Leo) that self-interest was the driving force.

There is a bit of a sitcom feel to the film at times, but the cast certainly elevates the project making the situations more believable. It’s awesome to see Tony Lo Bianco with a substantive role. He was everywhere in the 1970s and 1980s, including classic films THE FRENCH CONNECTION (1971) and THE SEVEN-UPS (1973). Ramono, Metcalf, and Maniscalo are all fine in their roles, and additional support work comes from John Manfrellotti, Jennifer Esposito (“Blue Bloods”), and Karen Lynn Gurney (for the SATURDAY NIGHT FEVER fans). But the real find here is Sadie Stanley and her electrifying smile. She is a true rising star. The film is full of characters who are all frightened or unsure, and despite the iffy family dynamics, it’s a reminder that each person must find their own way in life, even if the support from their family is a bit shaky.

Opening in theaters on April 21, 2023

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Posted by David Ferguson

MIRANDA’S VICTIM (2023)

April 19, 2023

Greetings again from the darkness. “You have the right to remain silent.” Whether you say it out loud or just finish it in your head, the vast majority of us know what follows, even if it’s (hopefully) just from watching TV and movies. You likely also know that it’s part of The Miranda Rights … a list of rights that anyone being arrested is entitled to. If you are like me, you probably hadn’t put any thought into the origin of those rights or the requirement for law enforcement to recite them in a timely manner. Director Michelle Danner (THE RUNNER, 2021) and co-writers George Kolber and J Craig Stiles are here to educate by bringing us the story of Trish Weir and Ernesto Miranda.

The film is based on the true story of Trish, an 18-year-old working at a local movie theater. After one late night bus ride home from work, she was abducted and raped. As Trish, Abigail Breslin proves yet again that she is a terrific actor, and fully grown up since her breakthrough performance in LITTLE MISS SUNSHINE (2006). What follows is gut-wrenching, and likely a scene that played out all too frequently fifty years ago, and still occurs today. Trish’s mom (Mireille Enos, “The Killing”) tries to dissuade her from going to the police by warning her that “they never believe the victim”, and that she will then be considered “damaged goods.” It’s painful to watch this play out, despite knowing that mom thinks she is protecting her young daughter. Trish’s sister Ann (Emily Van Camp, “Revenge”) is very supportive and follows her to the doctor for the initial check-up, to the police station for filing the report, and ultimately to the courtroom.

There is much to consider in this story. How courageous was Trish for standing up and pursuing the case? How about the detectives (played by Enrique Murciano, Brent Sexton) who recognized that even though other victims had chosen not to come forward, Trish could help them stop a really bad guy? And then there is a legal system that was unfair to both Trish and Ernesto Miranda (Sebastian Quinn), as well as the attorney, judges, and jurors involved with the cases. Fittingly, a clip of the 1962 classic TO KILL A MOCKINGBIRD is shown, emphasizing the wheels of justice turn slowly. We see that the ACLU attorney (Ryan Phillippe) gets involved when he believes Mr. Miranda was coerced into a confession. This is the case that changes everything.

Supporting work comes from Luke Wilson as Trish’s attorney, Lawrence Turoff; Andy Garcia as Miranda’s first defense attorney, Alvin Moore; Donald Sutherland as a judge in the case; Taryn Manning (“Orange is the New Black”) as a key witness; Dan Lauria as the examining doctor; and Kyle MacLachlan as Chief Justice Earl Warren, who is excited for a rare public reading of the Supreme Court’s landmark ruling in 1966. It should be noted that the film is very well acted, with the notable exception of Ryan Phillippe, who tries oh-so-hard to steal his scenes, failing painfully.

Michelle Danner’s work as director here is exceptional, given how many facets to the story must be juggled and given proper due. Even the re-trial of Miranda is handled well, as Trish is put through another round of emotional turmoil, this time involving her spouse. The film ends with a startling statistic: only 5 of every 1000 sexual assaults result in a conviction. Those are today’s figures, so we are left to wonder just how much has changed over the past 60 years.

The film is currently playing the Film Festival circuit

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Posted by David Ferguson

RARE OBJECTS (2023)

April 14, 2023

Greetings again from the darkness. The emotional turmoil in the aftermath of being the victim of sexual assault is incomprehensible to anyone who hasn’t experienced such trauma. Writer-director Katie Holmes and Phaedon A Papadopoulos have adapted Kathleen Tessaro’s 2016 novel, transitioning it from depression-era to modern day New York City. At the center of the story are two women, one working diligently to regain some control of her life, and another with a form of mental illness that seems to prevent a return to normalcy.

We first see Benita (Julia Mayorga, “American Rust”) as she is ending her stay for therapy. She has been the victim of a sexual assault that led to an abortion. Her reunion with her mother (Saundra Santiago, “Miami Vice”) is quite awkward since Benita hasn’t told her mom any of what she’s been through … only that she’s taking some time off from college classes. As Benita looks for a job in the old neighborhood, we see her visions and flashbacks – what led to the attack, as well as her bonding with Diana (director Katie Holmes) during therapy.

The owner (Alan Cumming) of a local antique shop takes a shine to Benita and not only offers her a job, but also tutors her on how best to deal with their customer base. One of those customers happens to be the same Diana from therapy. It turns out Diana and her brother come from big money, and he does what he can for his sister. Things get interesting when the shop’s co-owner, Winshaw (Derek Luke, Holmes’ co-star in PIECES OF APRIL, 2003) shows up. Life lessons and philosophical mutterings are sprinkled throughout conversations in the shop, and Benita really values her budding friendship on the outside with Diana.

The lessons here are plenty, and most of them are quite obvious and re-treads from other stories. One can’t ever really go home again and have it be the same. Old friends may run into each other, but the connection is different in adulthood (partners, kids, jobs, etc all change people’s priorities). We can all make new friends, but if the history isn’t there, the bond is only so strong. Alan Cumming offers up the best lesson when he discusses how broken vases can be reassembled, with their repaired cracks creating more beauty and value. Everyone in this movie is broken in their own way, and it’s true that for those who persevere, the cracks add strength and beauty. Julie Mayorga is a rising star, and Saundra Santiago, Derek Luke, and Alan Cumming all deliver their usual strong performances. Looking at bad memories as bad dreams can often help folks recover, but true mental illness is a significant battle for all involved. As a side note, this is yet another movie where the background music is played entirely too loud and often interferes with the dialogue and flow.

Opening April 14, 2023

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Posted by David Ferguson

ONE OF THESE DAYS (2023)

April 14, 2023

Greetings again from the darkness. Thanks to the onslaught of ‘Reality TV’ over the last decade, we seem to have lost empathy for those whose lot in life has driven them to submit to acts of desperation in hopes of finding a way forward. Writer-director Bastian Gunther has used the real-life east Texas events featured in the 1997 documentary, HANDS ON A HARD BODY, to create a drama depicting the fallout from such extremes.

Kyle (Joe Cole, “Peaky Blinders”) is a down-on-his-luck local guy with a wife and young daughter. Life is hard and he’s desperate to improve their way of life. However, he’s such an honest and good person that our impression is that he’s one of those who just gets continually kicked while down. When Joan (Carrie Preston, “True Blood”), in her role as Public Relations Director for Boudreaux car dealership, announces a contest to win a new pickup truck, Kyle sees his chance to make things better for his family.

If you have read about the dance marathons held in the 1920’s and 1930’s, or seen Sydney Pollack’s film, THEY SHOOT HORSES, DON’T THEY? (1969), then this “last person standing” concept will be familiar. A lottery is held to select twenty people who will compete for the vehicle in a test of endurance: they must keep one hand on the truck at all times, taking only short breaks with no chance for sleep. The expectation is that this could last 100 hours, with sleep deprivation and psychological willpower certainly in play. It’s a diverse group of twenty, and mind games are afoot, especially by one of the participants, Kevin (Jesse C Boyd) … one who no one recognizes.

Since watching people stand around touching a truck lacks cinematic drama, director Gunther infuses some of Joan’s less-than-stellar personal life, while also offering tidbits on some of the participants. Much of the focus is on Kyle, even as exhaustion, hallucinations, and health issues begin to creep in. The opening segment provides us with a Google Earth-type lay of the land in this rural community, and we quickly understand the stress of poverty – a stress that is eating away at Kyle.

A surprising plot twist with one of the participants elevates the tension, but it’s not until the final act where Gunther follows an unconventional structure that is downright confounding. We believe our story will end when the truck is awarded to the last one standing, but that’s not what happens. It’s an unusual story structure and one that’s challenging to deal with as a viewer. The characters feel real, and having been inspired by true events, the “hands on” competition is believable and uncomfortable to watch. This is a different kind of storytelling as it turns the familiar rural community trope sideways and shakes it up.

IN THEATERS, ON DIGITAL AND ON DEMAND APRIL 14, 2023

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Posted by David Ferguson

AIR (2023)

April 10, 2023

Greetings again from the darkness. “Where’s the Beef?” That iconic Wendy’s TV commercial featuring Clara Peller is but one of the many references flashed during the opening montage designed to ensure every viewer understands we are headed back to 1984. Yes, it’s been nearly 40 years since Michael Jordan was drafted third overall by the Chicago Bulls. An important point to make is that this is only tangentially a basketball movie, and it’s certainly not a Michael Jordan profile. SPACE JAM (1996) had more basketball and more Jordan than this one. Instead, this is a rare business movie … specifically the story of how one decision by Nike not only saved their basketball shoe division, but also revolutionized the entire sports shoe market and the relationship between shoe manufacturers and athletes (at all levels, though the focus here is the NBA).

Chicago native Alex Convery’s script (his first feature film) had long been on Hollywood’s blacklist of screenplays, and it wasn’t until lifelong friends Ben Affleck and Matt Damon got involved that the project gained legs. The two buddies previously won an Oscar for their GOOD WILL HUNTING (1997) screenplay, and Affleck won a Best Picture Oscar for producing ARGO (2012). This time, in addition to their script tweaks, Affleck appears as Nike CEO Phil Knight (he of the grape Porsche), while Damon stars as Nike recruiting expert, Sonny Vaccaro.

At this point in 1984, Nike has recently gone public, having built their reputation on running shoes. However, the basketball division has never really succeeded due to the dominance of industry leaders Converse and Adidas. In fact, Vaccaro has been warned by Knight that the division could be shut down by the board of directors if this year’s budget isn’t turned into a pot of gold. Vaccaro, a recognized guru in scouting basketball talent, seems to be working from a point of desperation … or perhaps it’s excitement … when he becomes obsessed with signing Michael Jordan. Hilarious and profane exchanges with Jordan’s powerhouse agent, David Falk (Chris Messina) offer little hope, so Vaccaro sees only one chance at success – a personal visit to the Jordan home in North Carolina. This is typically a taboo move, and one that causes grief for Vaccaro from all sides.

It’s at this initial meeting with Jordan’s parents, Deloris (EGOT Viola Davis) and James (Julius Tennon, also Ms. Davis’ real life husband) where the door cracks for Vaccaro due to his sincerity and idealism. The battle at the corporate office finds Phil Knight reminding Vaccaro who’s in charge, Vaccaro reminding Knight of the risk-taking that built the company, and marketing director Rob Strasser (Jason Bateman) doing what he can to inject rational thought, while hoping to keep his job. As the big presentation approaches, it’s shoe designer Peter Moore (Matthew Maher), who pulls a rabbit out of the hat with his design and name for the shoe. Maher is fabulously awkward during his scene-stealing. There has always been conflict on who came up with “Air Jordan”, Moore or Falk, and the film handles this admirably.

Damon gets a few scenes to rattle off big moments of dialogue, but none matches his peak inspirational soliloquy during the presentation. And this despite the rapid-fire musings of Chris Tucker. Tucker, in a rare big screen appearance, plays Howard White, who would become Jordan’s personal handler (and friend) for Nike over the years. As you might guess, it’s the always terrific Viola Davis who outshines everyone. Her final phone call with Vaccaro is a thing of beauty, and a moment that will likely find her in awards discussion at year end.

Three-time Oscar winning cinematographer (and 10-time nominee) Robert Richardson finds the perfect throwback look for the film, while Costume Designer Charlese Antoinette Jones captures the frumpy look of Vaccaro and the arrogance of Knight and Falk. The only real weakness here stems from director Affleck’s insistence on over-doing the “remember 1984” moments with music and cultural references … including cracks at the expense of Kurt Rambis and the late Mel Turpin. No real suspense exists since the entire world knows Jordan signed with Nike, but the risk-taking in business is reference numerous times. While many kids truly dreamed of being like Mike, many Business majors and CEOs dreamed of being like Knight. The best comparison here is probably MONEYBALL (2011), since at its core, this is the story of an underdog.

Currently showing nationwide in theaters, will stream on Prime Video later this year.

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Posted by David Ferguson

PAINT (2023)

April 5, 2023

Greetings again from the darkness. You might wonder how a low-key painter becomes ubiquitous, evolving into the source of pop culture references in everything from “Saturday Night Live” to “Family Guy” to recent horror film SMILE. Bob Ross hosted “The Joy of Painting” on public television from 1983 until 1994. His soft-spoken manner and ability to connect with the audience while finishing a painting in 30 minutes drew in many dedicated viewers and turned him into an unlikely celebrity (as did the internet). Writer-director Brit McAdams uses Bob Ross as inspiration for his first feature film.

Though it’s certainly not a profile or biography of Ross, Owen Wilson’s portrayal of Carl Nargle is part tribute and part caricature, and it seems that McAdams wanted to go the comedy route, despite most gags and punchlines landing as softly as Carl Nagle’s signature sign-off, thanking viewers for finding that “special place.”. Whereas Ross’ whispery vocal seemed soothing, Wilson’s is kinda creepy. The comedy never really lands for a few reasons, but mostly because we don’t much care for Carl Nargle and his out-of-touch ego and misogyny … although this isn’t the fault of Wilson, who does his best with what he’s given.

Carl Nargle’s (a fictional character) painting show has been a long-time fixture on the Vermont PBS channel where he regularly creates landscapes featuring Mount Mansfield. His loyal audience ranges from the elderly at a senior citizen center to the frequenters of a local dive bar to the women drawn to Carl’s calm nature and fold-out bed in the back of his custom van. The latter group includes his ex, Katherine (a criminally underutilized Michaela Watkins), who is also the program manager, and Carl’s assistant Wendy (Wendi McLendon-Covey). His newest interest is the young intern Jenna (Lucy Freyer), who seeks to be the next to receive the gift of a painting, which Carl gives to each conquest. But times are changing for Carl. Station Manager Tony (Stephen Root) needs a ratings boost and seizes the opportunity by hiring Ambrosia (Ciara Renee) to bring in new painting blood. There is more to the competition between Carl and Ambrosia than painting and ratings and ego … it extends to Katherine, generating an entirely new dynamic.

The film has a lackluster feel to it. While some would-be intriguing topics are broached, none of them are explored to the point of creating any real interest. As for the comedy, there is no energy or sharpness. It comes across as believing many punchlines and situations are funnier than they really are. Everything is just a little off … doesn’t quite work as comedy, satire, self-discovery, or drama. To top it off, the timeline is confusing. While no cell phones are present, it never gives off a strong enough vibe for us to place the era. There is simply no joy in this painting.

Opens in theaters on April 7, 2023

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Posted by David Ferguson

TETRIS (2023)

March 31, 2023

Greetings again from the darkness. Were you one of those? Did you spend hours strategically placing ‘tetrominoes’ on the Gameboy screen for maximum points? Were you addicted to Tetris, one of the earliest globally popular video games? As one of the few people alive today who has never once played Tetris, I was still interested enough in its origin story to watch and review the film from director Jon S Baird (STAN & OLLIE 2018, and FILTH 2013) and screenwriter Noah Pink (creator of the “Genius” TV series).

Taron Egerton (ROCKETMAN 2019, EDDIE THE EAGLE 2015, the KINGSMEN movies) stars as Henk Rogers, who, when we first see him, is pushing the floundering video game he designed himself. It’s at a 1988 conference where he stumbles on an early version of Tetris, and the rest of the movie involves Henk trying to outmaneuver Russians, hucksters, and corrupt businesspeople – each more powerful than him – for the territorial rights to market Tetris, a surefire hit in the early days of video games.

At times, the story plays like a spy thriller, but mostly it’s a story of Communism vs Capitalism, with greed playing a significant role with all involved. One wouldn’t expect foreign intrigue and geopolitical business strategy to facilitate video game distribution, yet in fact, those elements are front and center. Henk’s’ journey finds him crossing paths with Robert Stein (Toby Jones), an international video game agent; renowned publisher and politician Robert Maxwell (an unrecognizable, except for that distinctive voice, Roger Allam) and his arrogant wannabe-power broker son, Kevin (Anthony Boyle); Hiroshi Yamauchi (Togo Igawa), the head of Nintendo; and most importantly (and stressfully), the Russians. If you don’t recognize the name Robert Maxwell, you surely know the story of his daughter, Ghislaine.

Alexey Pajitnov (played by Nikita Efremov) is the Russian computer programmer who initially developed Tetris, and of course, he is the one in danger when the game becomes embroiled in a tug-of-war between Russia and Westerners. Belikov (Oleg Stefan) negotiates on behalf of the Russian government, while Tracy (newcomer Mara Huff) acts as Henk’s translator. But, of course, in Russia, not everything is as it seems, so Henk and the Maxwells and Stein all act in ways not acceptable to Russian protocol. It’s Henk who has literally bet his house on Tetris, but Maxwell’s highly publicized shady business dealings are a factor as well.

At times, the film has a cartoonish feel to it … some of that by (8-bit) design, and some of it just in how the story is presented. Those involved have admitted they were following in the footsteps of THE SOCIAL NETWORK (2010), a superior film. Ego and greed are always a bit uncomfortable to watch play out, but we do learn that the name Tetris was formed by blending ‘tetra’ (four) with ‘tennis.’

AppleTV+ on March 31, 2023

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Posted by David Ferguson

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